Comedy tempers Kaplans otherwise sober (if not bleak) subject matter...
Its easy to romanticize a certain kind of French cinephiliaseeing movies in 35mm at the Cinémathèque Française and then having long conversations about them in cafés afterward.
Over the past few years, much has been saidhastily, thoughtfully, and above all with conviction and abundant evidenceabout the gendered experiences faced by women working in the film industry.
The films of Margaret Tait often portray a contradictory sense of time, one that seems suspended while also rushing or galloping forward. The effect, while hinting at philosophically grand ideas, also reflects the founding principles of cinema: moving images borne out of sequential still frames. It's a phenomenon that Tait herself expressed wonder in. "It's mysterious, isn't it?"
In Bi Gan's depictions of his hometown, Kaili, located in the mountainous Guizhou province in southwest China, the streets are unfailingly rain-soaked and it's always night. The buildings are abandoned and everything is beautifully decrepit.
I'd been in Berlin last year during the Berlinale, but I'd made a conscious decision to avoid it. I was there to meet with the publisher of a German language novel by Ronald M. Schernikau, und als der prinz mit der kutscher tanzte, wären sie so schön daß der ganze hof in ohnmacht fiel. ein utopische film, which I was adapting into what would become my second feature, So Pretty.